Left to right Lining up their talents, Salinger’s Tony Perez, Herbert Ha, Taylor Harb and Javier Verni look toward making it in the music business. Formed around guitarists Ha and Verni, Salinger has grown to incorporate different instruments and styles into its sound. / photo by Christopher Guzman

by Michael Escañuelas
photography by Christopher Guzman

Outside of a Starbucks coffee in Chino Hills, Herbert Ha and Tony Perez arrive separately from their self made practice studio in El Monte. “Watch out, I’m still sweaty from practice,” Herbert warns as he exits his car. The band is working hard to prepare for a handful of upcoming concerts and striving to make their live show something worth catching. While none of them has given up full-time day jobs, they feel their band is on the edge of music business discovery. “What we rely on most is our live show. We don’t have a lot of material to push out,” Herbert explains. Even so, for Salinger, an indie rock five-piece based out of Chino Hills, music is not just a hobby, but a practical part of life. Compiled of Herbert Ha, on lead vocals and guitar, Javier Verni, on guitar, Tony Perez, on drums, and Taylor Harb, on cello, this group of musicians, who either go to school full time or hold full-time jobs, makes up the band Salinger. Although their name may not be known beyond their home town, this band is working its way to exposure in many new and effective ways.

Utilizing self-made studios, booking their own tours in states like Washington and Oregon, and even recording and producing their own demos, Salinger is just a local example of how the music scene has developed in the past decade into its own self run entity. “Do it yourself” (DIY) has become the motto of many artists in not only California but also throughout the entire United States music scene. Age old attention getting methods like dependence on labels, managers and booking agents have quickly grown outdated and been replaced by outlets that let the bands themselves take control of their work and reel in the benefits. The measure of success for a band has greatly changed; the rock star concept is quickly becoming a taboo. For bands like Salinger, this change presents the opportunity to create and show their music to more people than even thought possible before the new millennium.

This new movement is taking control of the music business but not only are bands taking control of their musical careers; so too are producers, engineers and venue owners. With new digital methods of distributing music, playing concerts and recording, the business of music is finally being controlled by the musicians.

Getting the album out

The music scene that resides within the La Verne area is just like any other; it is always changing and growing. For Salinger, the road to becoming a band started with a trip to Oakland to record a five song demo. The band began in 2008 as a singer/song writer project created by band front man Herbert Ha. After booking some time in a friend’s Oakland studio, Herbert and band mate Javier Verni went north to record their first demo, “Lovers,” which would become the band’s demo. Followers of Salinger say it holds a focus on heartfelt lyrics combined with a strong push toward musical diversity. “I was struggling with a lot things at that time; that is why It feels more organic, more heartfelt,” Herbert says about the band’s early material.

For many aspiring musicians, jamming with friends is just the first step in starting a band. But beyond creating music, a band must go through many steps to release material. For Salinger, this process began with recording the first EP “Lovers” and self releasing the album. “At the time, it was more of a personal goal, especially for me,” Herbert says. “I really wanted something solid to put out, something packaged, something pretty.” The band self released its album totally, making the packaging and selling the album at its shows. Currently, Salinger sells its music through the online retailer Band Camp, a free service that allows artists to sell their music online and not be forced to pay fees.

For local bands, to record an album takes many hours of work and much money. The process includes paying for studio time, recording the material and then mixing the music for release. Salinger gained its studio time with a friend in Oakland. For the “Lovers” album, the cost approached $700 for recording and an additional $400 to complete the packaging. When referring to future recordings, Herbert addresses the cost and time constraints with caution. “We have the songs to record a full length, but a band like us basically has to do everything on our own.” “Even though we work, it’s really hard to get the money into a studio and spend that much time.”

The days of driving to venues and distributing flyers, hoping people give them the time and day are gone. Websites like Facebook have paved the way for self promotion, along with sites Purevolume and BandCamp. Band members can build a buzz just by sitting in front of their computers. “Ten or 15 years ago, bands would network at venues, and bands would play with each other and get on compilations,” Tony says. Before file sharing, compilations were a necessity for a label and an opportunity for smaller bands to be heard. Now, promotion is focused online though social networks, allowing bands to directly interact with fans. Besides allowing bands to promote and sell their music online, sites like YouTube and Vimeo allow artists to create videos and post their music in a completely different art form. In turn, fans post videos promoting their favorite bands, allowing for viewership to millions. “We welcome anyone to come record things; they have our permission to put it online; we don’t care,” Herbert says.

Computers have changed the music industry, and it makes one wonder whether DIY ethics are ruining the authenticity of bands, artists or even the music. “Wanting to travel and doing what you love, like playing music—that’s one thing the digital world can’t take away,” Herbert says. For local bands, playing shows is essential. The passion that drives the music scene can be proven within a band’s live show. It is the only outlet that allows artists to fully display a band’s talent. Salinger took to the road and headed north to play a small tour. Cities within Oregon, Washington and California were chosen to share the band’s sound. But unlike tours for well known bands, smaller bands have a more difficult time getting crowds to show up for touring gigs. Some of the band’s shows either were cancelled at the last minute or had few people in the audience. “We’re a little band from a city no one knows, but it was our first tour, so we took what we got from it,” says Herbert. “You have to go into it almost expecting to play for no one.” But like with any business, one cannot pave the way to the top without treading the bottom. Not all bands can endure the challenges of self booking tours, or even managing a band through self-made ethics, but bands like Salinger are driven by the passion of their music.

Producers and studios

Pablo Hernandez stands outside his humble Ontario home located on a short cul-de-sac that backs up to the 10 freeway. The freeway wall barely blocks the overpowering highway noise that one can not only hear but feel. Considering the noise pollution, it would be unexpected to find his garage houses the control center of a quality home self made studio. Pablo is a self taught student in the art of producing and engineering music. His studio, which houses a large 36 channel mixing board, an abundance of microphones and a large spacious area, is a work in progress that records his band “Resa’s” material, along with several other projects. “I don’t have any training,” Pablo says. “I started backwards, and I learned on my own with the help of friends.” Pablo’s work began after being laid off from his job as fire alarm technician. After learning that a friend had a large mixing board from the ‘80s collecting dust, the musician quickly jumped at the opportunity to set up the equipment in his garage. With time, Pablo added more recording tools like microphones, cables to extend to the front house and interfaces to create a modest home self made studio. “I didn’t really know anything. We just messed around learning just basic things,” Pablo says.

Before building his studio, Pablo created and wrote music with different bands. Using internet tools to obtain programs to record, Pablo quickly learned to manipulate the technical side of music. “I always have been a nerd for the behind the scenes stuff,” he says. He established a connection between the garage, which housed the mixing board and computers, and the main house, where bands played their instruments. Then, Pablo built his excellent resume as a producer and an engineer. “I don’t want to be an engineer, but at the same time I was learning from him all the technical stuff,” Pablo says. “I had to, to be able to communicate what we wanted to do.” Pablo’s self taught skills have given him an advantage of recording his bands material along with helping out friends with recording.

The path to excellence came from recording his own band, hours of reading and the expert advice of friends. Pablo was then able to make a drastic decision in his musical career and develop musical field versatility. In a music scene that demands so much from artists, it helps to have the advantage of recording knowledge to guide your band. “We can do other skills other than playing music,” Pablo says. “We have what it takes to communicate who we are.”

Unlike how Salinger’s members support their music careers through full-time jobs, Pablo was inspired by the loss of his fire technician job. “My job was just a job,” Pablo says. With the job loss, Pablo followed his music passion, which took a backseat to a full-time job. He decided to make it his career. “I changed my mind set to I can get by if I apply myself.” With the job field quickly become a ghost town, making rash decisions to pursue music has become a growing norm among artists. The do it yourself movement allows for artists to take the music scene into their own hands. For producers and engineers, there are many paths to take, including school—or like Pablo—building your own studio and learning through hands on experience. “There are so many options out there,” Pablo says. “It’s much easier to become an engineer nowadays.”

Venues open the door

For many bands, the art of live performing is their only exposure method and a personal connection with their fan base. Within the Inland Empire there are only a handful of performance venues compared to large cities like Los Angeles. One local venue not only embraces the local scene but also was built on the DIY ethics that push so many artists. After quitting his job as a teacher, Donavan and Rachel Foy opened in August 2006 their “The Wire Music and Arts Venues” in the heart of downtown Upland. “We wanted it to be something that we were really into, and we were both really into music,” says Donavan. “There wasn’t a legitimate venue for bands to play around here.” But just like any local business, The Wire was built with a hands-on mentality that still holds true four years later. Along with a modest staff, The Wire is run, booked and even cleaned by the owners. “I do everything from booking to cleaning toilets,” Donavan laughs. “It’s not glamorous, but it’s what we wanted to be.” Since its opening, The Wire has been a place made for the primary reason of music. “A big decision we made was it being all ages and not serving alcohol,” Donavan says. “We want it to be a place where people come to see music.” Similar venues like Chain Reaction in Anaheim and The Glass House in Pomona also have an all ages policy and do not serve alcohol.

For many business owners, the art of staying open comes from making right business decisions and learning from your mistakes. For Donavan and Rachel, owning a venue proved to be a unique business venture that came without an instruction book. “Since we first opened, we are always learning and figuring out what works and doesn’t work,” explains Donavan. “There’s isn’t anyone in our line of work that I know that I can get advice from.” The two base their business ethics and judgments on their experience playing in and working with local bands. These ethics include staying true to the focus of music and always being hands-on. These goals are achieved through do it yourself methods like booking and maintaining the venue. “All I ever did was go to shows, and now it’s my job,” says Donavan.

As long as the local scene of music thrives, there will always be a need for a performance place for the arts. The Wire is one of several local places that serves the do it yourself music scene and keeps artists from going broke. The Wire’s reputation is an important attribute to their business ethics. “That’s how it works with anything that is not corporate,” says Donavan. “How else are people going to find out about it? It’s word of mouth; it’s what you hope for.”

When it comes to do it yourself ethics for bands, producers and venue ownership, word of mouth helps keep the scene alive. Artists continue to play and display their art just to get people talking. Engineers and producers record and work as much as possible, even sometimes for free just to get their names out there. Venues treat bands and concert goers with respect with hopes that more artists book with them. The art of do it yourself is linked through several different ethical methods. With the power of digital technology, if one has the passion to drive your art forward, their always seems to be a way. “That’s the bottom line of when you do things yourself,” says Donavan.

Salinger’s lead singer Herbert Ha, drummer Tony Perez and cellist Taylor Harb share their passion for music as the indie band takes over the heart of Pomona’s Main Street Art Walk at PB&J Nov. 13. Salinger frequently performs at several intimate venues in the Pomona Arts Colony and expects to record new material soon, under the direction of producer Pablo Hernandez. / photo by Christopher Guzman

Self-taught engineer-producer Pablo Hernandez records DIY bands from his personal studio in Ontario. The old 36 channel mixing board sitting in Hernandez’s garage symbolizes the work that he puts into creating his own at-home studio. With a zest for production symbolized by the toys and trinkets that surround his studio, Hernandez has incorporated self-taught tools and techniques to create a unique recording style that is credited with launching local bands to their next musical level. / photo by Christopher Guzman

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by Michael Escañuelas
photography by Michael D. Martinez

Things are very wrong in the music industry. Walking into Rhino Records in Claremont, one can see customers buying CDs, books and magazines of their favorite bands, but the real interest lies in the back of the store, which houses two long rows of newly pressed vinyl records. These are not the vinyl records one would find in his parents’ garage, but actually recently pressed and repressed vinyl from both new artists and old.

With album sales going down and most of the big box stores like Best Buy and Wal-Mart liquidating their music sections, it is hard to believe that a store like Rhino Records could still exist. But with the recent numbers supplied by SoundScan, small indie shops like Rhino Records are actually rising in sales. With the age of iTunes in full swing, it is hard to pin point where the music industry is really going. This fear of unpredictable trends could explain the rise in vinyl sales during the past couple years.

In the last six months, vinyl sales have spiked more than 50 percent according to Nielsen SoundScan. Those very records that once plagued your parents’ garage are now the hot new media, overtaking the music industry and, in some cases, actually saving record stores from extinction. Many artists, both unsigned and signed, are now releasing their albums on vinyl along with digital downloads. In some cases, artists like Weatherbox on Doghouse records actually released just a vinyl version of its most recent album, “The Cosmic Drama,” and chose to ignore a CD release. Philadelphia natives Balance and Composure, on the No Sleep Records label, released their label debut on vinyl. “I don’t think of it as resurgence for vinyl,” says Pete Lyman, a mastering engineer at Infrasonic studios in Los Angeles. “Vinyl is the first real music delivery to the consumers so it’s not like this new technology.” This resurgence may be something new in mainstream media, but, for many collectors and music enthusiasts, the idea of vinyl never left the garage.

The art of collecting

“It’s a resurgence but, for me, not really,” says Jose Calixto, sitting in the comfort of a Starbucks chair in La Verne. “It’s more accessible now; you can go to Best Buy, and there is vinyl. Before, you had to hit up punk rock distributions to get vinyl.” A local musician and graphic designer who collects vinyl, Jose plays in the local band 12 o’ Clock in English. He uses the advantage of traveling with his band to visit record stores and enhance his vinyl collection.

Vinyl collecting is not only something that benefits the artists who distribute them, but also the music fan who longs for something physical. In an age where the digital single has overtaken the album, it is growing harder and harder for music collectors to actually collect tangible music. “It’s good for collectors like me,” says Raymond Markel, a local musician and Cal Poly, Pomona student. “Vinyl is bigger, more difficult to find and valuable. It’s the perfect way to show just how much you like a band.”

Throughout Web sites like vinylcollective.com, limitedpressing.com and eBay, vinyl collectors bid to obtain some of the rarest vinyl in the music scene today. These items include records from classic artists like the Beatles and Jethro Tull, to contemporary artists like Brand New, New Found Glory and Against Me! Collectors are at the heart of the art of collecting vinyl. The recent resurgence of vinyl comes from the fact that so many music enthusiasts have gone that extra mile to obtain it.

From behind the register

In the spirit of supporting locally owned independent stores, 2007 saw the creation of Record Store Day. Inspired by comic book stores that hold their own yearly event, the day (held the third week of April) recognizes the independently owned record store. Many artists and labels release limited edition vinyl albums exclusively to participating record stores. The event also features artists playing in stores to promote the event. In Claremont, Rhino Records dressed its store with balloons, filled its racks with limited edition vinyl and invited Yo La Tengo to play the store in honor of the special day. The result: a long line of customers opened the shop and a large crowd filled the store during the performance.

“It used to be that another store was your competition; that’s no longer the general viewing,” says Dennis Callaci, general manager of Rhino Records for the last 20 years. Opened in 1976 and independently owned since 1981, Rhino Records has supplied vinyl records to consumers long enough to see the trend of vinyl sales go up and down. “The format was pretty specific when it started to have a resurgence with hip hop and electronic,” says Dennis. “That’s when we first started to sell a lot more vinyl.”

A major attribute to vinyl’s refusal to drown against the ocean of new technology was the support from local independent shops like Rhino Records. Although one could go into a Best Buy and find a small amount of vinyl, Rhino has one of the largest selections of both used and new records in the local area. Dennis’ career has shown him the many trends that have sprouted throughout the years, especially with the recent popularity of the once dated format. “We would try to sell a record for 99 cents 10 years ago,” Dennis laughs. “Now those records are in demand, so when one comes in used through the front door, it’s gone in a matter of a week.”

With the rise in popularity of digital singles and the availability of music in big box becoming more limited, record stores are becoming music consumers’ only option. “I don’t see the big box getting into LPs; I see them getting out of music, which is what they’ve been doing the last few years,” says Dennis. Recently, many stores have felt the failure of the compact disc. Rhino Records’ system of buying and selling used CD and vinyl has allowed the store to succeed from both the failure of CDs and the resurgence of vinyl. For the store, buying and supplying vinyl is a different process than just ordering CDs. “The vinyl is not returnable, so you really have to know your customer,” says Dennis, regarding vinyl’s distribution. To gather vinyl to place on store shelves, Dennis must find a distributer of the product and specifically order it. This results in a mixture of odd pricing issues, and the hope that someone will buy the records in order to make money. “With LPs, it’s all over the map; they don’t quite get it still. They’ll do a pressing or a reissue and make it $34.99; you’re pricing people out of that market.”

Independent labels keep vinyl alive

Distributing vinyl has always been something for which small independent labels are known. Now, with the recent resurgence of vinyl, large labels like Universal and Sony are releasing major acts on vinyl. In Best Buy, one can find the new Guns and Roses album for sale. Web stores like Amazon.com carry many vinyl titles. The concept of vinyl has caught on, and many labels and distributors are beginning to see the benefit of pressing vinyl album versions or even releasing only a vinyl version. And while many big labels are beginning to produce vinyl, when looking at their track record of keeping the music industry healthy, it is hard to believe that they will do what is right, even with the format’s recent success. “The record industry is filled with a lot of morons who don’t know what they’re doing, and they’ve done things so poorly over the last 20 years that I’ve been here,” Dennis jokes.

For the past year, no one group can be more involved in the resurgence of vinyl than the indie label. Small sister labels to the majors like Doghouse Records, Vagrant Records and Merge Records have promoted the release of vinyl records of their bands. For most major labels, the concept of doing vinyl records could prove to be too costly or unnecessary.

For label owner Chris Hansen, founder of No Sleep Records, vinyl is something he wanted to do from the very beginning. Sitting on a small concrete wall outside Pomona’s Glass House, wearing a gray sweater adorned with “No Sleep Records,” Chris explains his label’s story. It is based in Huntington Beach and includes acts like The Wonder Years, Balance and Composure and La Dispute. “I always wanted to do a label since high school. When I first started, I definitely wanted to do a lot of vinyl.”

Since starting his label in 2006, No Sleep Records has released several albums on vinyl. One of No Sleep’s first vinyl releases was an EP by The Wonder Years titled, “Won’t Be Pathetic Forever.” The release premiered on three different colors: orange, brown and purple. A plain black second pressing followed. “Vinyl has that everlasting appeal to it. It has a raw sound; the artwork is so much bigger,” Hansen says. The experience of pressing vinyl for the first time was a learning experience for him, to say the least. The release was plagued with misprint issues and long turnaround times. “The turnaround is six to eight weeks, and you want to go with the eight weeks just to be safe,” Hansen says. “I knew it was going to take a while, but I didn’t know it would take as long as it did.”

The resurgence of vinyl is just another example that shows the next generation rejecting the way music is sold. The idea of a compact disc is slowly becoming an outdated technology. For years, CDs were the dominate force. Now, with iTunes, Amazon and illegal downloading, consumers are looking for something more tangible and, most importantly, collectable when shopping for music. “The younger kids, they still don’t know what vinyl is yet,” Hansen says about the consumers of vinyl. “They buy vinyl because it looks cool; most people who buy vinyl these days don’t have a vinyl player.” Like many labels now are noticing, there is something to vinyl that brings out the music fan. Recently released vinyl is more collectable and higher in value. “It takes a lot longer to make money off vinyl,” Hansen says. “Vinyl is something you do because you love what you’re doing; you love music.”

Bands supporting the movement

Music has evolved greatly during the past couple years. For bands, the method of distributing music has gone forward and backward. Sitting on a step outside a venue anxiously waiting to play, Kenny Vasoli, former lead singer of the pop-punk band The Starting Line and current front man to the band Person L, discusses his band’s efforts to retreat back to the classic methods of distributing music. “I really like listening to older records because that’s the way it’s supposed to be,” Vasoli says, regarding the band’s most recent release, “The Positives.” Many bands have been following the direction of Person L and releasing vinyl pressings of their music. “It’s always fun to work on projects whose primary destination is vinyl, because we concentrate on making it sound good, rather than making it sound loud,” says Pete Lyman, a 10-year mastering engineer and 16-year band recording artist. The process of distributing band music in the digital age far exceeds the options that bands had when vinyl was first introduced. Now, for a band to distribute its album through vinyl is a means for fans to gain a new musical experience. “When you’re listening to a record, you’re really dedicating time to listen to it, so I think people are starting to discover that experience,” Lyman says.

Although music lovers have a new listening experience, for bands, the success of selling vinyl can contribute to the bands’ style or genre. “For more DIY style bands, vinyl seems to do better. They have a core fan base that knows more about music or appreciates it more,” says Hansen. Music distribution may be evolving, but with the movement of vinyl sales rising, the art behind music is still important to music consumers.

From the start of his No Sleep Records label in 2006, Chris Hansen was an advocate for distributing vinyl records of his bands. “People buy vinyl because it looks cool; most people who buy vinyl these days don’t have a vinyl player,” he says. / photo by Michael D. Martinez

General manager of Rhino Records in Claremont for more than 20 years, Dennis Callaci has seen the rise and fall of musical trends. His store holds analog treasures while also meeting the demands of the digital music enthusiast. / photo by Michael D. Martinez

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